"Summit (album) Summit is an album by Argentinean bandoneonist Astor Piazzolla and jazz saxophonist Gerry Mulligan. The original LP was recorded and released in Italy in 1974. The album was born from the meeting, which took place in Italy in 1974, between the Argentinean bandoneon player Astor Piazzolla and the North American saxophonist Gerry Mulligan, considered among the most prominent members of the world music scene. The album was recorded in Milan and includes eight compositions, seven written by Piazzolla and one by Mulligan. The fusion of the nuevo tango of Astor Piazzolla with the jazz influences of Gerry Mulligan,"
"a theatrical performance style of Tango seen in the touring stage shows. For stage purposes, the embrace is often very open, and the complex footwork is augmented with gymnastic lifts, kicks, and drops. A newer style sometimes called ""tango nuevo"" or ""new tango"" was popularized after 1980 by a younger generation of musicians and dancers. Ástor Piazzolla, composer and virtuoso of the bandoneón (so-called ""tango accordion"") played a major role in the innovation of traditional tango music. The embrace is often quite open and very elastic, permitting the leader to initiate a great variety of very complex figures. This style"
"Astor Piazzolla broke some rules of the musical tango pattern. Nowadays it mainly refers to ""electrotango"", a fusion of tango and electronic music which emerged in Argentina in the early 2000s (Gotan Project, Tanghetto, Bajofondo, Electrocutango, Tango Jointz, Tango Fusion, Narcotango and Otros Aires) . Neotango is also used to classify milongas where a wide spectrum of music is played: not only electrotango and tango nuevo, but also classical music, blues, trip-hop, ballads, dubstep, deep house, klezmer, soundtracks, chillout, world music, etc. Neotango dance is not tango nuevo. The term ""tango nuevo"" has been used in dance every time an"
"but whatever shows them more and better."" In July 2009, Gustavo Naveira wrote about Nuevo tango: By the late 2000s, the Tango Nuevo dance included many improvised and led dance moves from Argentine tango. These new elements of tango are not characterized only by the type of embrace but include off-axis moves, playfulness, attention to rhythm and melody, emphasis on greater improvisational skill of woman in dance to name just a few attributes. Some dancers began to adopt elements of other dance forms such as salsa, ballroom and swing. The most important composer of Nuevo Tango was Astor Piazzolla who"
"Piazzolla's ""Fugata"" from 1969 showcases the instrument, which plays the initial fugue subject on the 1st statement, then moves on to the outright tango after the introduction. With his solos and accompaniment on the bandoneon, Piazzolla combined a musical composition much derived from classical music (which he had studied intensively in his formative years) with traditional instrumental tango, to form ""nuevo tango"", his new interpretation of the genre. Exterior A look inside a bandoneon: Bandoneon The bandoneon (or bandonion, ) is a type of concertina particularly popular in Argentina and Uruguay. It is an essential instrument in most tango ensembles"
"1. Chacarera The ""chacarera"" (from ""chacra"", ""farm"") is deeply rooted in the central pampas and the northern Argentine interior, with popular variations in Uruguay and Bolivia. It is a rapid dance in triple meter for one or two couples, which begins with the beating of the feet on the ground while the guitarist strums the introductory bars. There may be a link between the chacarera and the chaconne, which is described in ""The New Oxford Companion to Music"" as follows: ""A dance in triple meter which originated in Latin America and was taken up as a form and variations in"
"Among its leading figures are the singer and songwriter Carlos Gardel and composers/performers Francisco Canaro, Juan D'Arienzo, Carlos Di Sarli, Osvaldo Pugliese, and Ástor Piazzolla. The origins of tango are unclear because little historical documentation from that era exists. However, in recent years, a few tango aficionados have undertaken a thorough research of that history and so it is less mysterious today than before. It is generally thought that the dance developed in the late 19th century in working-class neighborhoods of Buenos Aires, Argentina and Montevideo, Uruguay and was practiced by Uruguayan and Argentine dancers, musicians, and immigrant laborers. Argentine"
"Maria Rivarola Maria del Carmen Rodriguez de Rivarola, better known by her artistic name Maria Rivarola (born in Buenos Aires, ca. 1957) is an outstanding professional dancer, social dancer, and choreographer of the Argentine Tango. She is known for performing a specific style of Argentine Tango known as Milonguero Tango. She is also known worldwide for being a cast member of the show ""Tango Argentino"", released in 1983, which resulted in her nomination, along with the rest of the dancers, for the Tony Award in 1986 for Best Choreography. Since her youth, Carlos Rivarola has been her dance partner. Together,"
"Libertango Libertango is a composition by tango composer Astor Piazzolla, recorded and published in 1974 in Milan. The title is a portmanteau merging ""Libertad"" (Spanish for liberty) and ""Tango"", symbolizing Piazzolla's break from Classical Tango to Tango Nuevo. Astor Piazzolla recorded and published ""Libertango"" in 1974 in Milan, symbolizing his break from Classical Tango to Tango Nuevo. (see below for recording details) Cellist YoYo Ma played ""Libertango"" on his 1997 album - ""Soul of the Tango: The Music of Astor Piazzolla"". It was featured by guitarist Al Di Meola in his 2000 album ""The Grande Passion"". In 2002 ""Libertango"" appeared"
"The 2010 Olympic champion Yuna Kim also used this piece as her free skate music for the 2013–14 figure skating season, which included her 2014 Winter Olympics silver medal performance. Satoko Miyahara, the 2018 World Bronze Medalist, used this piece for her free skate during the 2018-19 figure skating season. Adiós Nonino Adiós Nonino (""Farewell, Granddaddy"" in Rioplatense Spanish) is a composition by tango Argentine composer Ástor Piazzolla, written in October 1959 while in New York, in memory of his father, Vicente ""Nonino"" Piazzolla, a few days after his father's death. In 1959, Piazzolla was on a tour of Central"
"Histoire du Tango Histoire du Tango is one of the most famous compositions by tango composer Ástor Piazzolla, originally written for flute and guitar written in 1986. It is often played with different combinations, including violin substituted for the flute, and also harp or marimba substituted for the guitar. It was Piazzolla's life work to bring the tango from the bordellos and dance halls of Argentina into the concert halls of Europe and America. He is among the astonishingly varied group of composers who were enabled by the teaching of Nadia Boulanger to become more authentically themselves. Boulanger--doyenne of high"
"Dance of the Hours Dance of the Hours (Italian: """") is a short ballet and is the act 3 finale of the opera ""La Gioconda"" composed by Amilcare Ponchielli. It depicts the hours of the day through solo and ensemble dances. The opera was first performed in 1876 and was revised in 1880. Later performed on its own, the ""Dance of the Hours"" was at one time one of the best known and most frequently performed ballets. It became even more widely known after its inclusion in the 1940 Disney animated film ""Fantasia"" where it is depicted as a comic"
"Domenico da Piacenza Domenico da Piacenza (c. 1400 – c. 1470), also known as Domenico da Ferrara, was an Italian Renaissance dancing master. He became a very popular teacher with his students – most notably Antonio Cornazzano and Guglielmo Ebreo da Pesaro – who both later became successful dance masters. At a time between 1452 and 1463 he received the Order of the Golden Spur. Piacenza was born in Piacenza, Northern Italy in around 1400, and was the first dancing master. He began teaching dance in around 1440 and is believed to have taught elements of dramatic mime and elaborate"
"concepts in tango music become intertwined with modern music. Bartok, Stravinsky, and other composers reminisce to the tune of tango music. This [is] today’s tango, and the tango of the future as well. Histoire du Tango Histoire du Tango is one of the most famous compositions by tango composer Ástor Piazzolla, originally written for flute and guitar written in 1986. It is often played with different combinations, including violin substituted for the flute, and also harp or marimba substituted for the guitar. It was Piazzolla's life work to bring the tango from the bordellos and dance halls of Argentina into"
"the ""San Antonio Express-News"", calls it a ""work of tragic beauty."" Five Tango Sensations Five Tango Sensations is a suite of works (Asleep—Loving—Anxiety—Despertar—Fear) for bandoneón and string quartet written in 1989 by Argentine composer Ástor Piazzolla. It was premiered in New York that year and recorded immediately afterwards by the Kronos Quartet and the composer, who played the bandoneón. The record was one of a set of three internationally tinged albums released simultaneously, the Argentine music of this album being accompanied by the music of South-African composer Kevin Volans on """" and the music of Polish composer Witold Lutosławski on"
"""Entre Borges y Piazzolla"" (""Between Borges and Piazzolla"", 1997). His second wife was also a dance partner, and their daughter Johana joined her father in his troupe in 1994. Copes' film credits include Raúl de la Torre's musical, ""Funes, un gran amor"" (1993), and in a role as chief choreographer in ""Tango, la película"" (""Tango, the Movie""), a 1998 film by Carlos Saura. Copes has received numerous artistic awards. His pupils include Robert Duvall and Liza Minnelli. Juan Carlos Copes Juan Carlos Copes (born May 31, 1931) is an Argentine tango dancer, choreographer, and performer. He contributed to worldwide revival"
"European art--encouraged Piazzolla not to become another European-style composer, but to apply to the tango the lessons of his study with her. Piazzolla's ""Histoire du Tango"" is his only work for flute and guitar--the instruments associated with the first flowering of the form, in Buenos Aires in 1882. ""Histoire du Tango"" attempts to convey the history and evolution of the tango in four movements: Bordello 1900, Café 1930, Nightclub 1960, and Concert d'Aujourd'hui. Piazzolla provided program notes that expand on the individual movements: Bordello, 1900: The tango originated in Buenos Aires in 1882. It was first played on the guitar"
"Danza de tijeras The Danza de las tijeras (; English: scissors dance; Quechua: Supaypa wasin tusuq, also ""Galas"", ""laijas"") is an original dance from the south of the Andes, in Peru. The dance consists of two or more dancers, followed by their respective orchestras of a violin and a harp. The dancers dance in turns, doing explicit moves and challenging steps, such as dancing with just one foot. The places where this dance is most influential are: Huancavelica, Ayacucho, Junín, Apurimac, and Lima. UNESCO designated the Danza de las tijeras intangible cultural heritage in 2010. The scissors dance can be"
"Anastasios Mavroudis (violin), Antonis Hatzinikolaou (electric guitar), Anahit Chaushyan (piano), James Opstad (double bass). Fugata Quintet Fugata Quintet is a London based chamber group formed in early 2007 at the Royal Academy of Music, where all quintet members were studying at the time. Fugata principally perform Nuevo Tango music by the Argentine composer Ástor Piazzolla. The quintet is one of the few independent groups to have produced and performed a fully staged production of Maria de Buenos Aires, the Tango Operita by Ástor Piazzolla and Horacio Ferrer. The group's name is an homage to Piazzolla's composition ""Fugata"" from the Nuevo"
"Five Tango Sensations Five Tango Sensations is a suite of works (Asleep—Loving—Anxiety—Despertar—Fear) for bandoneón and string quartet written in 1989 by Argentine composer Ástor Piazzolla. It was premiered in New York that year and recorded immediately afterwards by the Kronos Quartet and the composer, who played the bandoneón. The record was one of a set of three internationally tinged albums released simultaneously, the Argentine music of this album being accompanied by the music of South-African composer Kevin Volans on """" and the music of Polish composer Witold Lutosławski on """". In 1987, Kronos's executive producer, Robert Hurwitz, had taken Piazzolla,"
"1940-41 are the favorite recordings for social dancing in contemporary tango salons (milongas). The renowned bandoneonist Astor Piazzolla played in and arranged for his ""orquesta típica"" during the period 1939-1944. Troilo's own tango compositions include: Aníbal Troilo Aníbal Carmelo Troilo (July 11, 1914 – May 18, 1975 in Buenos Aires) was an Argentine tango musician. Troilo was a bandoneon player, composer, arranger and bandleader in Argentina. His orquesta típica was among the most popular with social dancers during the golden age of tango (1940-1955), but he changed to a concert sound by the late 1950s. Troilo's orchestra is best known"
"century, as well as in the first half of the twentieth century. Several Curaçao-born composers, such as Jan Gerard Palm, Joseph Sickman Corsen, Jacobo Palm, Rudolph Palm and Wim Statius Muller, have written mazurkas. In Mexico, composers Ricardo Castro and Manuel M Ponce wrote mazurkas for the piano in a Chopin fashion, eventually mixing elements of Mexican folk dances. In the Philippines, the mazurka is a popular form of traditional dance. The Mazurka Boholana is one well-known Filipino mazurka. In Portugal the mazurka became one of the most popular traditional European dances through the first years of the annual Andanças,"
"""Rioplatense"" musical genre with European and African influences, is one of Argentina's international cultural symbols. The golden age of tango (1930 to mid-1950s) mirrored that of jazz and swing in the United States, featuring large orchestras like those of Osvaldo Pugliese, Aníbal Troilo, Francisco Canaro, Julio de Caro and Juan d'Arienzo. After 1955, virtuoso Astor Piazzolla popularized ""Nuevo tango"", a subtler and more intellectual trend for the genre. Tango enjoys worldwide popularity nowadays with groups like Gotan Project, Bajofondo and Tanghetto. Argentina developed strong classical music and dance scenes that gave rise to renowned artists such as Alberto Ginastera, composer;"
"appearing on numerous episodes of The Ed Sullivan Show from 1962 to 1964. Copes returned to Argentina and was instrumental during the 1960s in creating the modern tango show concept in Buenos Aires. He married one of his dance partners, and also performed regularly with her two sisters. Copes choreographed ""Tango Argentino"" in Paris in 1983, which contributed to worldwide revival of tango; his notable stage credits also include his work as chief choreographer of Ástor Piazzolla's ""María de Buenos Aires"" (1968), in the Spanish National Dance Company's Dance Icons series (1993), and a leading role in Manuel González Gil's"
"dances, such as ‘Ma'di bowl lyre music and dance’ from Uganda and ‘Kalbelia folk songs and dances of Rajasthan’ from India and social dances, such as rumba from Cuba. Also, some dances are localised and practised mainly in their country of origin, such as Sankirtana, a performing art that includes drumming and singing, from India. Other dance forms, however, even if they are officially recognised as heritage from their country of origin, are practised and enjoyed all over the world. For example, flamenco from Spain and tango, from Argentina and Uruguay, have a very international dimension. Dance is a very"
"Suite Punta del Este Suite Punta del Este is a tango nuevo work for orchestral strings and a bandoneón written by the Argentine composer Ástor Piazzolla in 1982. Punta del Este is an Uruguayan resort where the artist spent many summers and particularly enjoyed shark fishing. It is broken into 3 movements: I. Introduccion: Allegro pesante II. Coral: Adagio III. Fuga: Allegro vivace. Suite Punta Del Este is a scored for bandoneon (accordion), flute, oboe, clarinet, bassoon and strings. It has been used as a signature theme for the 1995 science fiction film ""12 Monkeys"" as well as a model"
"their performances with pizzica orchestras. Some of them include Stewart Copeland, Franco Battiato, Gianna Nannini, Raiz, Lucio Dalla, and Carmen Consoli. The 11th Festival was held in Lecce in August 2008. Pizzica Pizzica () is a popular Italian folk dance, originally from the Salento peninsula in Apulia and later spreading throughout the rest of Apulia and the regions of Calabria and eastern Basilicata. It is part of the larger family of ""tarantella"" (plural: ""tarantelle"") dances. The traditional pizzica is a couple dance. This couple need not necessarily involve two individuals of opposite sexes, and often two women can be seen"
"""Alto Peru,"" a region that is modern day Bolivia and through Chile between 1825 and 1830. The Zamba is a slow dance in three-quarter time played primarily on guitar and bombo legüero. The steps of the dance are a walking step, an alternate step (two steps at one time), and a tip toe alternate step or ""sobrepaso punteado"" (three steps at one time). The Zamba also requires a handkerchief. Today Zamba is frequently danced in the streets of Argentina and always danced in Argentine folklore parties and festivals.It is performed during the national holidays of Argentina. Zamba (artform) Zamba is"
"Maria, Carlos and Ines Borquez and the Color Tango Orchestra. Maria and Carlos also founded and maintained many tango clubs and academies in Japan located in Tokyo, Yokohama, Nagoya and Osaka. Maria Rivarola Maria del Carmen Rodriguez de Rivarola, better known by her artistic name Maria Rivarola (born in Buenos Aires, ca. 1957) is an outstanding professional dancer, social dancer, and choreographer of the Argentine Tango. She is known for performing a specific style of Argentine Tango known as Milonguero Tango. She is also known worldwide for being a cast member of the show ""Tango Argentino"", released in 1983, which"
"Pasodoble Pasodoble (Spanish: ""double step"") is a Spanish military march, and also a modern dance that emulates the movements of a bullfight. Essentially, the Pasadoble dance involves role-playing. This two-person dance form has the man performing as the bullfighter and the woman as the cape. It is known as one of the fastest Latin ballroom dances because dancers make around 120 to 130 beats/steps per minute. In some versions, the man portrays the matador in the dance, and the woman portrays the bull. Flamenco-like qualities infuse the dance as the man and woman challenge each other. Pasodoble is a lively"
"Pizzica Pizzica () is a popular Italian folk dance, originally from the Salento peninsula in Apulia and later spreading throughout the rest of Apulia and the regions of Calabria and eastern Basilicata. It is part of the larger family of ""tarantella"" (plural: ""tarantelle"") dances. The traditional pizzica is a couple dance. This couple need not necessarily involve two individuals of opposite sexes, and often two women can be seen dancing together. Nowadays it has become rare to see two men dancing an entire pizzica. An exception with a pizzica between two men can still be found in the town of"
"the Hot Frittatas, the Graventsein Mandolin Ensemble, and Gus Garelick. Liscio Liscio or ballo liscio (""smooth"" or ""smooth dance"" respectively in Italian) is a genre of music originating in the 19th century in the northern Italian region of Romagna under the influence of Viennese ballroom dances including the mazurka, waltz, polka, schottische, march. It later became popular and spread to the rest of the country. The accordion, which was also a 19th century invention, features prominently. The tradition contrasts with older Italian folk dances in which the fiddle was the primary instrument. Italian immigrants to San Francisco, California brought the"
"dance, both in courtly and festive vernacular forms, throughout much of Europe, replacing dances such as the minuet. By 1800 a creolized form of the genre, called contradanza, was thriving in Cuba, and the genre also appears to have been extant, in similar vernacular forms, in Puerto Rico, Venezuela, and elsewhere, although documentation is scanty. By the 1850s, the Cuban contradanza—increasingly referred to as danza—was flourishing both as a salon piano piece, or as a dance-band item to accompany social dancing, in a style evolving from collective figure dancing (like a square dance) to independent couples dancing ballroom-style (like a"